This is a terrible game and it’s always been a terrible game.
That doesn’t mean that I didn’t play the hell out of it when I was a kid because frankly, I loved Marvel Comics and this was the closest thing to the arcade game Operation Wolf that I owned on a home console.
Sadly, like most early Marvel games for the Nintendo Entertainment System, this just sucked. I tried to convince myself otherwise but the controls were dog shit and the game was hard as fuck, especially on the tedious boss fights.
The big problem with the difficulty is that it becomes impossible to dodge all the gunfire, missiles and grenades lobbed at you. You become quickly overwhelmed as the game advances and the opportunities to gain some extra life are too far and few between.
The graphics are also shit and this looks like a game that was rushed or just designed pretty half-assed.
Additionally, the villain roster was pretty generic, except for Jigsaw and The Kingpin. The reason for this could also be because the regular Punisher comic book series was still only a few years old when this was made. That doesn’t mean that they couldn’t have used other street level villains from the larger Marvel universe like Hammerhead, Tombstone, The Owl, Bullseye, Boomerang, Taskmaster, Crossbones, Typhoid Mary, Mister Fear, The Rose, The Gladiator, etc.
Hell, what’s with the fucking android boss? They could’ve designed it to look like a Doombot or mini-Sentinel.
I know, I know… I’m asking too much for a basic bitch 1990 Marvel game.
Rating: 4/10 Pairs well with: other 8-bit side scrolling shooters or other terrible 8-bit Marvel games.
Published: March 8th, 2017 Written by: Chris Claremont, Bill Mantlo Art by: John Buscema, Sal Buscema, Ron Frenz, Bob McLeod, Frank Miller, Paul Smith
Marvel Comics, 520 Pages
As big of a fan of The New Mutants as I am, it’s been a damn long time since I’ve read the original graphic novel and their earliest stories. I got into the series around it’s midpoint and because of that, didn’t have all of the earliest issues until more recently. This collects that first year of the regular comic books series, as well as the characters’ appearances before it started.
This was neat to revisit and it brought me back to where I was in the late’80s, as a young kid just discovering comics. Back then, I really liked the youth superhero teams like Teen Titans and New Mutants.
This collection had a few stories I hadn’t read before. It kicked off with Karma’s debut story, which happened in Marvel Team-Up and featured Spider-Man and the Fantastic Four.
Additionally, I had never read the story that served as the debut of the Hellfire Club’s Selene and New Mutants member Magma.
Everything else here I’ve read but it was nice checking it out again and refreshing my memory, as my brain gets older and forgets more than it remembers now.
I loved the art style of this series, early on, and the Chris Claremont and Bill Mantlo stories were solid.
Now I do have to say that this isn’t as good as the series would become. This is early on and it hasn’t found its grove, here.
However, this is the foundation of this group and they would eventually be faced with some really intense, life-altering storylines that would take this from just being a “Junior X-Men” comic to something unique and very much its own series, standing on its own strong legs.
Rating: 7/10 Pairs well with: other New Mutants comics, as well as the other X-Men related titles from the ’80s.
Original Run: November 19th, 1994 – January 31st, 1998 Created by: John Semper, Bob Richardson, Avi Arad, Stan Lee Directed by: Bob Richardson Written by: John Semper, various Based on:Spider-Man by Stan Lee, Steve Ditko Music by: Kussa Mahchi, Jeremy Sweet, Shuki Levy, Joe Perry, Shuki Levy, Kussa Mahchi, Udi Harpaz Cast: Christopher Daniel Barnes, Ed Asner, Jennifer Hale, Roscoe Lee Brown, Mark Hamill, Hank Azaria, Joseph Campanella, Martin Landau, Richard Moll, Don Stark, Dawnn Lewis, Majel Barrett, David Warner, Earl Boen
New World Entertainment Films, Genesis Entertainment, Marvel Enterprises, Fox, 65 Episodes, 23 Minutes (per episode)
After the success of the early ’90s X-Men cartoon on Fox, it was natural for the network to ask for more Marvel properties to adapt for their Saturday morning audience. The Spider-Man series was the longest running and most successful of these animated spinoffs.
While the X-Men show still stands as my favorite of these animated Marvel series, Spider-Man is a very, very close second and nearly as good.
The stories are generally well written and even if they have to take some liberties and alter the plots from the comics. This was due to time constraints and by trying to wedge in the debut of Venom really early in the series, which changes the overall timeline of events in Spider-Man’s life, greatly. Also, the showrunners probably wanted to get as many villains added into the mix, early on, so that each new episode felt fresh.
Spider-Man has a massive rogues gallery and this show utilized the core villains really damn well.
The tone of the cartoon is pretty perfect. Sure, there are cheesy and hokey bits in every episode because this is a kid’s cartoon but it does stay pretty true to the tone and style of the source material. Most importantly, it’s true to the characters and the writers obviously knew the Spider-Man mythos well.
I love this show and it’s still fun to have minimarathons of episodes. Honestly, to me, it’s one of the highlights of Disney+.
Rating: 8.25/10 Pairs well with: the other animated Marvel television series from the ’90s.
Published: February 10th, 2010 Written by: Neil Gaiman Art by: Andy Kubert, Scott McKowen (covers)
Marvel Comics, 246 Pages
This started out as a really cool story and I enjoyed it a lot from the get go. However, it did lose steam after a few issues and wrapped up pretty weakly. I also thought the big reveal/twist was fairly predictable and that this didn’t live up to the high hopes I had for it and the past work of Neil Gaiman.
Still, it piqued my interest enough to make me want to check out some of the other stories that take place in this odd, alternative version of the Marvel universe.
I liked the setting and I really liked most of the character designs. I did, however, feel like too many characters and subplots were forced in for the sake of trying to make this a big deal, big event. A lot of the extra fluff was unnecessary and narratively cumbersome.
I don’t know if that was an issue with Gaiman’s writing or Marvel instructing him to throw in every major old school character. I feel like all the extra characters could’ve been saved for their own interesting spinoffs of this.
Beyond the rickety story, I thought that Andy Kubert’s art was pretty damn impressive. Artistically, this is one of my favorite things that he’s done and the style he used here fit with the story really well.
Also, the covers by Scott McKowen are some of my favorite from this comic’s era. They’re actually framed poster worthy and while staring at them, I thought about seeing if I could buy some.
In the end, Marvel 1602 was a fun experiment and it captivated me early on. But it was too dragged out and overloaded and with that, became more of a chore to read in the back half.
Rating: 6.75/10 Pairs well with: other Marvel alternative timeline stories, as well as other comics written by Neil Gaiman.
Original Run: March 19th, 2021 – April 23rd, 2021 Created by: Kevin Feige, Louis D’Esposito, Victoria Alonso, Nate Moore, Kari Skogland, Malcolm Spellman Directed by: Kari Skogland Written by: various Based on: Falcon by Stan Lee, Gene Colan; Bucky Barnes by Joe Simon, Jack Kirby; Winter Soldier by Ed Brubaker, Steve Epting Music by: Henry Jackman Cast: Sebastian Stan, Anthony Mackie, Wyatt Russell, Erin Kellyman, Danny Ramirez, Georges St-Pierre, Adepero Oduye, Don Cheadle, Daniel Brühl, Emily VanCamp, Florence Kasumba, Julia Louis-Dreyfus
Out of all the Marvel television shows that were originally announced for the Disney+ streaming service, this was the one I was most excited for.
That being said, I was severely disappointed and it kind of made me not really care about three of my favorite characters from the Marvel Cinematic Universe.
I don’t even know where to start with this awful mess but here I go.
I guess the biggest thing is that this show is woke as fuck, which I was pretty sure the MCU was gearing up to do with their entire franchise once Avengers: Endgame was over and they had the obvious intention of making Captain Marvel, an unlikable cunt, the focal point of the universe going forward. Now they’ve potentially switched gears due to immense backlash of the Brie Larson character and its lack of charisma or any real purpose other than trying to be a Mary Sue boss bitch. However, the suits at Disney want identity politics injected into Marvel even more so than what they’ve done with Star Wars.
Anyway, I guess the one big takeaway from this show is that I now know that Falcon is black. I never really noticed it before, so I guess it’s good that this show points it out to its audience about six times per episode.
The plot, which makes little sense, shows Falcon turn over Captain America’s shield to the US government even though Cap gave it to him because he earned it. But oh no! Falcon, who was given the endorsement from Cap himself, can’t be Captain America because he’s black. So the entire series deals with Falcon being mad that a black man can’t be Cap, even though he willingly gave that up when the torch was passed to him. So when another white dude gets named Captain America, suddenly Falcon is like, “Oh, hell no!” By the end, Falcon gets the shield back and is Captain America, so we’re right back where we started in the first place.
Additionally, whoever wrote this doesn’t understand these characters or understand actual morality. The reason I say this is because they have Falcon sympathize with the murdering terrorist girl over his own allies and against his actual mission. I get it, dude, she’s a confused teenager… but the fact of the matter is, despite whatever her fight is, she murders lots of people. But Falcon, he just wants to bring her over to the light.
Also, the terrorists have no real objective other than, “Shit’s fucked up! It’s America’s fault!” They have no plan, no actual goal, they just want to blow shit up and kill people.
Then when Falcon gives his big speech at the end, calling out politicians and leaders he blames for the terrorist girl’s tough life, he can only criticize and can’t give actual solutions. He’s just as stupid as the terrorists.
This show felt like it was written by a pissed off, rich, white teen girl that went down some social justice rabbit hole on TikTok.
Bucky had a good story when the show started but then it was dropped to deal with Falcon’s blackness. Then it was resolved at the end but you didn’t care about Bucky’s journey by that point.
Also, I was really looking forward to the return of Baron Zemo and finally seeing him in his mask. However, he only wears the mask in one episode for about five minutes.
Beyond that, Sharon Carter has a heel turn. It doesn’t make sense, it’s stupid and the only way to make it work is to reveal that she’s a Skrull. But then, the MCU fucked up the Skrulls too and made them babyfaces in Captain Marvel.
Sadly, this show is probably a clear sign of what’s to come from the MCU, which is hot garbage.
Like Disney’s Star Wars, I’m starting to lose interest with each new release. I guess I’ll have to see how bad things get with Loki when it debuts next month.
Rating: 4/10 Pairs well with: white non-binary pineapple fembots on TikTok lecturing and shaming everyone, even though they’re not old enough to get a driver’s permit.
Published: 1991 Written by: Danny Fingeroth Art by: Al Milgrom
Marvel Comics, 103 Pages
I loved this series when it came out in 1991. My sixth grade friends and I couldn’t stop talking about it and we all thought the idea of the Sinister Syndicate was pretty cool, as they were a sort of B-level Sinister Six full of Spider-Man villains that usually don’t get as much airplay as the A-level baddies.
I wasn’t sure what to expect, reading this thirty years later, but I have to say that I was more than pleasantly surprised. This was a great story with a ton of twists, turns and backstabbery. The villains could barely get along enough to pull off one heist, so seeing them all play against one another was entertaining as hell. Each villain had their own objective and pretty quickly, those solo objectives created real friction.
This also has a few subplots that worked great.
To start, the deceased Ringer’s girlfriend is a part of the gang, as a getaway driver. However, she has revenge plans of her own and it’s neat seeing them unfold, as she sort of plays a classic femme fatale.
Also, The Kingpin gets involved and starts pulling some strings for his own reason. He adds to the chaos in a great way and plays everyone like pawns. Well, that is until a certain character surprisingly outwits him.
I liked the subplot about The Shocker too. He’s not officially in the Sinister Syndicate but he weaves in and out of the story while dealing with his overwhelming fear of Spider-Man, The Scourge and The Punisher.
Danny Fingeroth wrote a really cool, very layered and well executed story. Al Milgrom complimented that with beautiful art.
After revisiting this and loving it so much, I think I’m going to delve into its sequel soon, The Lethal Foes of Spider-Man. That one, I haven’t actually read.
Rating: 9/10 Pairs well with:The Lethal Foes of Spider-Man and The Superior Foes of Spider-Man.
Published: December 9th, 2014 Written by: Dennis O’Neil, Chuck Dixon Art by: Greg Land, Scott McDaniel
DC Comics, 286 Pages
As big of a fan of Nightwing, as I am, I had never read his earliest solo comics. I wanted to right that injustice and I probably should’ve done it a long time ago, as the stories, here, are written by two greats: Dennis O’Neil and Chuck Dixon.
This collection of issues starts with the original Nightwing miniseries. In that story, we see our hero travel to a foreign land to topple a sadistic dictator that may have had a hand in his parents’ deaths. This story was damn good and I liked how gritty and hard it was. Dennis O’Neil kind of gave the series a similar tone to the ’90s Deathstroke comics, which I’m a huge fan of.
Beyond that, we get the first few story arcs in the regular Nightwing series. In this stretch of issues, we get the work of Chuck Dixon, who was coming off of writing some of the best Batman stories of the era. And with that, he knew a lot about the Dick Grayson character and Batman, which he utilized really well in establishing Nightwing’s motivations and while exploring his relationship with his mentor as well as Tim Drake, his mentor’s new sidekick a.k.a. the third Robin.
In the Dixon stories, we learn about Black Mask and Blockbuster’s criminal dealings in Nightwing’s new home, Blüdhaven. We also get a major fight between Nightwing and Blockbuster, which serves to really setup this series going forward.
This isn’t just a collection of solid stories, it also boasts some incredible art. This book looks very ’90s but it looks like the best of the ’90s and isn’t overloaded with over-the-top cheese like some of the comics from the first half of the decade.
This was just a hell of a fun and cool comic. It definitely has me hyped to read the volumes that follow.
Rating: 7.5/10 Pairs well with: other ’90s Nightwing and Batman comics.
Original Run: January 15th, 2021 – March 5th, 2021 Created by: Jac Schaeffer Directed by: Matt Shakman Written by: various Based on: Scarlet Witch by Stan Lee, Jack Kirby; The Vision by Roy Thomas, John Buscema Music by: Kristen Anderson-Lopez Cast: Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Randall Park, Kat Dennings, Evan Peters, Debra Jo Rupp, Fred Melamed
There’s been some criticism over the last few years that movies set within the Marvel Cinematic Universe have become too formulaic and predictable. Well, with the announcement that there would now be MCU television series streamed exclusively on Disney+, the possibility of breaking the mold and doing something very different had apparently arrived.
WandaVision is pretty ambitious and it doesn’t fit into any mold that came before it, MCU or otherwise. Because of its originality, I at least found it refreshing, interesting and intriguing, as it was initially hard to figure out where it could go.
However, its attempts at being so different also kind of bogged it down in the first half of the season.
The show recreates the world of sitcom television through multiple eras. As each episode progresses, we see WandaVision through a new decade’s lens. It starts with two episodes that take place in what appears to be late ’50s/early ’60s sitcoms then moves on to the ’70s, ’80s, ’90s and ’00s. It was a cool concept but it started to get tiresome by episode three. Thankfully, the show evolved beyond just the sitcom format at the end of episode three and started to allow the regular Marvel Cinematic Universe to creep in, as it began to show the real world outside of the sitcom setting.
By episode four, we’re introduced to new characters for the show, many of which we’ve seen before in the films. This is where things started to be revealed and the mystery behind what was going on got really interesting. While there were some Easter eggs and clues in the first three episodes, the fourth one is where everything took shape and got the viewer grounded in the concept.
For the most part, I really liked this show. It has its hiccups and faults but the chemistry between Elizabeth Olsen and Paul Bettany was so damn good that it kind of overshadows everything else that one might find faulty or annoying.
I also really liked Kathryn Hahn in this but then I like her in everything. It was really cool seeing her get to do something so large beyond just comedy, though. She obviously does the comedy parts well but when she has to get serious and more dramatic, she proves she can hang with actors on the same level as Olsen and Bettany.
Additionally, I really liked Teyonah Parris, as the adult version of Monica Rambeau, who becomes another version of Captain Marvel in the comics. She’s pretty solid in this show and really carries the production on her back in the real world scenes. Also, this show serves as her superhero origin story, as we see how she gets her powers towards the end of the series.
WandaVision was a pretty cool concept and it was mostly executed well. While I’m familiar with the comics well enough to kind of know what was happening from the get go, the show still had some good surprises that kept my interest till the end.
Rating: 7.5/10 Pairs well with: other films and television series that take place in the MCU.